05-14-2007, 07:15 PM
Quote:As I understand Ruben's thought,his point is that soft leather is wraped and un wrapted all the time,not to mention it's flexibility during the pushing and fighting.When you do all these to the cuirass,it's external surface is becoming larger and smaller.For a paint to last in such treatment it has also to be flexible.A flexible paint sounds unlikely in ancient times.Sorry Ruben if I explained your theory incorrectly
Khairete
You got it perfectly right, actually
. For things like shoulder yokes and pteruges, the surface would be stretched and contracted by bending, which would inevitably cause any paint on the surface to flake. A hard surface, like hardened leather or very stiff linen, could be alright, but we can see from lots of iconographic evidence that at least the yokes and pteruges were intended to be flexible and to bend (especially the pteuges).
Ruben
He had with him the selfsame rifle you see with him now, all mounted in german silver and the name that he\'d give it set with silver wire under the checkpiece in latin: Et In Arcadia Ego. Common enough for a man to name his gun. His is the first and only ever I seen with an inscription from the classics. - Cormac McCarthy, Blood Meridian
He had with him the selfsame rifle you see with him now, all mounted in german silver and the name that he\'d give it set with silver wire under the checkpiece in latin: Et In Arcadia Ego. Common enough for a man to name his gun. His is the first and only ever I seen with an inscription from the classics. - Cormac McCarthy, Blood Meridian
